6 February 2017
Your guide to Contracts
Advice for Equity members for one-off performances of your act
24 January 2017
NORTHERN IRELAND GENERAL BRANCH
ANNUAL GENERAL MEETING 2017
20 September 2016
Guide to adding content to Branch websites 2016
20 September 2016
Guide for branches to send out email newsletters 2016
25 November 2015
This document is designed to be used by members by passing it onto employers who are asking for a member to have or obtain an Enhanced DBS check in order to take up or apply for a role which may not require it. A recent survey of Equity members indicated that there was still widespread misunderstanding by employers and the public about when a check is required. Just because the role may involve contact with children, for example, it does not mean that a DBS check is required. If after approaching the employer with the document they still do not understand then refer them to Michael Day email@example.com. Please note that the document has been checked for accuracy by Equity’s solicitors.
Also note that this is unrelated to the issue of the broadcasters (BBC, ITV, Pact etc) insisting on Basic Disclosure Certificates for Walk-ons and supporting artists for which there is separate guidance elsewhere on the Equity website.
20 November 2015
Northern Ireland Christmas Party 2015 Invite
12 November 2014
This year is an important year for artists working across commercial theatre, as we renegotiate the Equity agreement for all artists working in the sector outside of the West End of London - including most regional tours, pantomimes and a number of non-West End producing houses.
Our claim has been put together after extensive consultation with all artists who have worked on it over the last three years, compiled by a working party of experienced members from the sector – working performers and stage managers who serve on Equity committees and as deps on shows across the country.
Our claim has a straightforward purpose – to set minima that represent what producers can afford to pay. The bigger the show, the bigger the producer, the more that should be returned to the artists involved.
We’ve also heard loud and clear that subsistence and touring allowance is no longer meaningfully contributing to the costs of artists on tour or coming to London to rehearse. Along with proposing a restructure to end unfair clauses like the reduction in touring allowance to subsistence after four weeks in a venue, and a significant rise of around 20% in touring allowance, we’re proposing that subsistence rises to match the rate of touring allowance in every case.
These are your proposals, proposals to make your working lives better and fairer. However, the managers will make their claims of us, and we need to defend existing terms as much as make claims to improve them.
We know that not every proposal of ours will be agreed – and we know that all will meet with resistance. Commercial producers won’t write us a blank cheque, which is why we need you standing up in support of our claim.
Encourage non-members to join our union and stand with us to make our voice louder, and watch out for the newsletters which will keep you updated as to where we are.
10 February 2014
Involvement of student members in branches as agreed by the Equity Council, January 2014
4 February 2014
A selection of opinions from equity members and beyond regarding the attempted censorship of the arts.
27 January 2014
Bullying and harassment blight many workplaces, but the Federation of Entertainment Unions wanted to examine its suspicion that they are particularly rife in the creative industries. The survey discovered the creative industries are a "hotspot" for bullying, compared with other workplaces. This is accompanied by a culture of silence, which allows perpetrators to behave in inappropriate ways without being reported. Why is this the case? The creative industries are seen as glamorous and there is great competition to get in and get on. But the reality is most workers are freelance or work on short-term contracts and have few statutory rights. There is the fear that there is always someone else hungry to take your place if you complain. The survey showed that there was almost an acceptance of the prevailing culture of bullying; an attitude of "if you can't stand the heat then get out of the kitchen".
• The need for tougher action on perpetrators and better organisational policies and procedures on conflict in the workplace. o
• Union recognition, so that representatives can negotiate anti-bullying policies and represent victims.
• Greater security for freelance workers.
• Confidential, independent hotlines for freelance and staff workers. In their own suggestions and comments respondents asked for:
• Informal processes for grievances
• Better education about bullying at an undergraduate and training stage
• Improved approaches for reporting interpersonal bullying
• A no-tolerance approach to unreasonable behaviour, applicable to all levels of workers/management
• More security for freelance workers